R. Kikuo Johnson is a cartoonist and illustrator born in Maui, Hawaii. His drawings regularly appear on the cover of The New Yorker and in advertisements for companies like Apple, Nike, and Coca-Cola. Johnson divides his time drawing in Brooklyn, teaching at the Rhode Island School of Design, and living with his family in Hawaii. On its fifteenth anniversary, a new edition of his debut graphic novel, Night Fisher, was published by Fantagraphics in 2021. His most recent book, the graphic novella No One Else, won the 2022 LA Times Book Prize.
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No One Else
No One Else:- Print Books
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No One Else
No One Else:- Print Books
- Find your local bookstore (via IndieBound)
- Bookshop
-
No One Else
No One Else:- Print Books
- Find your local bookstore (via IndieBound)
- Bookshop
"Johnson's dreamlike vignettes capture a family in the aftermath of loss, during a time of transition and, possibly, renewal, as they live through moments that are at once quotidian and monumental." —The New Yorker [on No One Else]
"It's a coming-of-age story with teeth." —The New York Times Book Review [on Night Fisher]
"A meditative and melancholy story that's nevertheless bristling with energy and dry humor — one that lingers long after the first read." —BOMB Magazine [on No One Else]
"Night Fisher has a force and elliptical grace that suggests he's been drawing comics and writing fiction for much longer than he really has.... Johnson's storytelling is clear and masterful, and his characters' body language says as much about them as their words." —Publishers Weekly
Selected Works
- Print Books
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- Bookshop
- Print Books
- Find your local bookstore (via IndieBound)
- Bookshop
- Print Books
- Find your local bookstore (via IndieBound)
- Bookshop
With beguiling humor and perceptiveness, R. Kikuo Johnson stitches a gentle seam along the frayed edges of three generations of a family in Hawaii. The art in rendering grief lies in capturing its awkwardness, how it has to fit into the momentum of our days. Johnson renders family wounds and complicated affection with subtle nudges of halting language that punch through the wide-lens illustrations, and his poignant wit and generosity allow us to read between and far beyond the panels.